Musical Characteristics: The playful and lively nature of this
descriptive piece is accentuated by the grace notes which occur
frequently. The time signature is 6/8 and the marking is Leggiero
e grazioso with a dotted quarter = 58. Basic 6/8 rhythmic patterns
are used, and are fairly consistent throughout, except where ties
complicate the rhythm (e.g., bars 61 to 63, bar 67). Rhythmic
durations ranging from sixteenth to dotted half notes are used,
with eighth and dotted quarter rests fairly common also. There
are several tempo changes. Bar 22 has a poco accelerando, and
bar 25 is marked ritardando, with text beneath the line that reads,
"The kitten is getting tired. He stretches out on the floor."
Bar 34 is marked poco piu mosso, and here the text reads, "He
dances gaily." At bar 46, it reads, "He whirls around."
Ritardando markings are indicated in bars 57-8 and 70, followed
by an a tempo marking. There are also several fermatas marked.
There are elements of polytonality in this piece. There is no
key signature, but F#, C#, and G# accidentals are found frequently,
with occasional B-flat accidentals from bar 60 onwards. Phrasing
is asymmetrical, with occasional piano interludes. The melody
is a mixture of conjunct and disjunct motion consisting of small
leaps.

Technical Challenges: This piece is playable in first position
throughout, but there are also opportunities for some simple shifts
into third position. Grace notes are fairly prevalent, and generally
occur before quarter or dotted quarter notes. The motion of the
grace notes to the main notes is step-wise, and consists of whole
or half-tone intervals. The finger patterns are simple, using
mainly high second finger, with occasional changes to low second
and first fingers. Any shifting into third position changes the
finger pattern, but it is fairly simple nevertheless. The speed
of finger changes is usually moderate, but on the sixteenth notes
it is considerably quicker, with no time to prepare. There is
a mixture of fingered and unfingered string crossings. Detached
and slurred bowings are used, with the length of the slurs ranging
from two to six beats. Most of the slurs are to be played smoothly,
but sometimes there is a dot over the last note in a slurred group.
Dots are marked in other places also, on eighth notes for the
most part. Dynamics change relatively frequently, and range from
pp to f. Some of the changes are moderately subtle (e.g., bars
3 to 5 mf <f), while others are more obvious. Some of the more
obvious dynamic changes have some preparation time. For example,
bars 25 to 30 range from mf to mp, and back to mf again, with
some rests to prepare the changes. In other places, there is no
preparation time on the changes (e.g., bars 54 and 55 mp to mf).
Bow distribution is different on the dotted quarter notes than
it is on the eighth notes. For example, from bars 35 to 45, the
distribution is fairly consistent, with a whole bow over the duration
of a dotted quarter note. At the beginning, however, less bow
is needed on the eighth notes. The bow speed and pressure also
vary according to the dynamics. In bar 46, less speed and pressure
are needed due to the p dynamic marking. In bar 51, however, an
identical rhythmic and bowing pattern needs more speed and pressure
due to the f making. There are a moderate number of string crossings,
to adjacent strings only. Many of the string crossings involve
open strings. Co-ordination between left and right hands is moderately
challenging. The piano part keeps a steady eighth note pulse,
and is waltz-like in style. It is technically very accessible
to student piano introductionsts. Ensemble co-ordination is challenging
during the tempo changes, and also where the sixteenth note passages
occur in both parts, but in general it is not difficult.

Pedagogical Value: This piece provides opportunities to improve
left hand dexterity on the grace notes and on the sixteenth-note
passages. It also provides rhythmic, ensemble, and bowing challenges.

ARCHER, Violet

TWELVE MINIATURES FOR VIOLIN AND PIANO

Instrumentation: Violin, piano

Publisher: Waterloo Music

Level: Easy to Medium

Twelve Miniatures for Violin and Piano is a set of twelve short
pieces ranging from an easy to a medium level of difficulty. These
miniatures are based harmonically on various pentatonic and modal
scales (e.g., Pentatonic, Aeolian, Dorian, Phrygian, and Mixolydian
scales). The compositions are written in first position, and the
fourth finger is used in each piece. The collection serves as
a good introduction to certain technical aspects of the violin,
such as pizzicato, spiccato, 2-, 3-, and 4-note chords, changing
metre, use of a mute, glissando, and tremolo. Musically, the pieces
encompass a variety of tempi and dynamic markings. Various moods
are expressed, as suggested by such titles as "A Quiet Song,"
"Serious Mood," and "Joyous." The collection
can be used for private study and practice, or for performance.

ARCHER, Violet

"IN CHURCH" from TWELVE MINIATURES FOR VIOLIN AND
PIANO

Instrumentation: Violin, piano

Duration: 1'40"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: One of the interesting features of
this piece is the metre, which changes from 4/4 + 2/4 to 4/4 several
times during the piece. It is marked Largo maestoso with a quarter
= 58. Eighth, quarter, and half notes are mainly used, along with
two whole notes. The rhythmic patterns are relatively constant
despite the metre changes. A basic quarter note pulse is maintained
throughout. Harmonically, this piece is based on the Mixolydian
scale starting on G. There is no key signature, and the only accidental
is an F# found in the piano part. Form in this piece is non-specific
and phrasing is asymmetrical, starting with a 7-bar phrase, followed
by a 9-bar phrase, and ending with a 6-bar phrase. The melody
is mainly step-wise with some motion in skips and leaps. In places
where there are 2-note chords, the melodic texture is polyphonic.

Technical Challenges: Alternation between 2-note chords and
a single line of melody happens quite frequently. The 2-note chords
are relatively easy, with one open string and a fingered melody,
or two open strings (e.g., bars 2 and 7). Most of the changes
from a single-note melody to a 2-note melody are by step-wise
motion of the melody line. The only exception is between bars
12 and 13, where there is a leap of a fourth in the melody, and
a string crossing from the A and E strings to the D an A strings.
This occurs at a natural breathing place and therefore there is
a bit of time to pause to set the bow and finger properly, but
co-ordination between left and right hands is challenging here.
Bar 5 also presents a co-ordination challenge when changing from
a 2-note chord to a single melody note, with a string crossing
and finger change. Bow control is more difficult on the 2-note
chords; an even bow pressure must be maintained on each string.
Alternating between 2-note chords and a single note melody also
presents a bow control challenge. Bow distribution is generally
constant. On the whole and half notes, it is important to save
the bow for an even sound over the entire note. The speed, pressure
and sounding point are generally constant. A relatively slow bow
speed is needed to suit the tempo. Heavy bow pressure is needed
for a sustained sound, especially since the dynamic markings are
generally loud throughout. Legato bowing is used, both detache
and slurred, with slurs extending over not more than two beats.
Bar 2 has a stress mark on the first beat for the violin, and
bar 8 has portato bowing marked on the last eighth note. A finger
pattern of low second finger is used and the speed of finger changes
is slow, with ample time to prepare for each change. There is
a mixture of fingered and unfingered string crossings. String
crossings are to adjacent strings only. There are moderately subtle
dynamic changes within the range of mf to f. Dynamic changes are
relatively infrequent, with some shortcrescendos and decrescendos
leading up to the various changes. The piano accompaniment consists
of half, quarter, and eighth notes, with quarter-note movement
alternating between the piano and the violin (e.g., bar 12 has
a whole note in the violin part and quarter notes in the piano
part). This constant quarter note pulse makes ensemble co-ordination
relatively easy. The piano part is optional. This piece may be
performed by unaccompanied violin.

Pedagogical Value: This piece is an excellent study in changing
metres. The 2-note chords provide an opportunity to develop bow
control and improve co-ordination between the left and right hands.
The piece also presents opportunities to work on constant bow
speed and pressure to attain a sustained, even sound.

ARCHER, Violet

"JIG" from TWELVE MINIATURES FOR VIOLIN AND PIANO

Instrumentation: Violin, piano

Duration: 20"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This lively jig is an appropriate
opening piece for the collection. Written in a typical 6/8 jig
metre, it is marked allegretto with a dotted quarter = 96. A mixture
of eighth, quarter, and dotted quarter notes make up the simple
rhythmic patterns presented in this piece. Considerable melodic
and rhythmic repetition is found within the two eight-bar phrases.
The melody involves mainly conjunct motion, with some disjunct
motion, including leaps of a fourth and a fifth involving one
open string. Harmonically, this piece is based on a pentatonic
scale starting on D, with a key signature of two sharps.

Technical Challenges: Bow distribution and speed are consistent
throughout the piece, except in the final two bars. Generally,
there is a change of bow every three beats, with two bows per
bar. Legato bowing is used, with slurs extending over three beats,
and portato bowing is marked on slurred, repeated notes. The finger
pattern involves high second finger, and the speed of finger changes
is moderate, with few fingered string crossings. String crossings
involve an open string much of the time, and are to adjacent strings,
since this piece is written on the D and A strings only. The dynamic
range is relatively subtle, from mf to f, with some crescendos
and diminuendos. The dynamic changes occur in very natural places
in the music. Co-ordination between the left and right hands is
relatively easy due to the straightforward bowing and fingering.
The piano part provides a basic harmonic outline for the violin
part that is not texturally or rhythmically complex, and therefore,
ensemble co-ordination is straight-forward also.

Pedagogical Value: This piece provides a good introduction
to 6/8 metre and to basic rhythmic patterns in this metre. The
piece provides opportunities to practise slurred bowing, as well
as legato and portato bowing. Use of the fourth finger is also
stressed in this piece.

ARCHER, Violet

"LULLABY" from TWELVE MINIATURES FOR VIOLIN AND PIANO

Instrumentation: Violin, piano

Duration: 1'

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: Larghetto tranquillo is the marking
on this soothing lullaby, which calls for the use of a mute. The
time signature is 6/8, with a dotted quarter = 48. There is a
poco ritardando in bar 21, followed by an a tempo. The rhythmic
patterns use eighth, quarter, dotted quarter, and dotted half
notes. Changes in rhythmic patterns are infrequent. There is one
fermata on the last note, as well as a fermata which applies to
the piano part. Modal harmonies are used. Form is ABA'. Following
a 2-bar piano introduction, the violin enters with a 7-bar phrase
(section A). A 2-bar piano interlude then leads into a 6-bar phrase
(section B). The piece concludes with the A' section, which is
six bars long. The melody is a mixture of conjunct and disjunct
motion. The largest leaps are of a fifth, and involve an open
string.

Technical Challenges: Bow distribution is fairly constant throughout.
Generally, a whole bow is used for the duration of a dotted quarter
note. An even, sustained sound is desirable. A wide dynamic range
is used. The piece starts and ends on p and pp respectively, but
is marked f at bar 18. There are a moderate number of dynamic
changes throughout, with some crescendos and decrescendos. Heavier
bow pressure will be needed to produce a louder dynamic level.
Less bow speed and pressure are needed in the last two bars, where
tied dotted half notes are combined with a fermata and a diminuendo.
The finger pattern uses low second finger. The speed of finger
changes is slow, with ample time to prepare finger changes. Most
of the bowing is slurred, although there are some detache notes.
The third last bar has a portato on a repeated slurred note. Co-ordination
between left and right hands is simple due to the consistently
slurred bowing and the slow speed of finger changes. Co-ordination
between piano and violin should not present problems. The piano
part maintains an almost constant eighth note pulse in 6/8 throughout,
with the left hand playing an unchanging intervallic pattern.
The right hand usually moves in dotted quarter or dotted half
notes.

Pedagogical Value: This piece provides opportunities to produce
a wide range of dynamics, with different amounts of bow pressure
affecting the various dynamic levels, and opportunities to work
on bow distribution on slurs. The use of a mute introduces the
student to an interesting violin timbre. This piece is useful
for ear training since the modal harmonies require careful listening
and tuning.

ARCHER, Violet

"ON TIP-TOE" from TWELVE MINIATURES FOR VIOLIN AND
PIANO

Instrumentation: Violin, piano

Duration: 45"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: The most unusual aspect of this piece
is the fact that it is played entirely pizzicato. The tempo is
a quarter = 104, with an andante marking. The metre is 4/4. Rhythm
is straight-forward, using quarter and eighth notes, and quarter
and whole rests. Certain rhythmic motifs recur several times (e.g.,
bars 3, 13, and 17 are rhythmically identical). Pentatonic scales
on D and on E are used. There is no key signature, but F# and
C# accidentals are found in the music. Three asymmetrical phrases
make up the piece. A 7-bar phrase begins the piece, an 8-bar phrase
follows, and a 4-bar phrase ends the piece. Step-wise ascending
motion is used frequently in the melody.

Technical Challenges: Pizzicato throughout makes co-ordination
between left and right hands challenging, especially on the eighth
notes, because the right hand index finger and the left hand fingers
must connect at exactly the same time. The degree of force used
when plucking influences the dynamic level. In bar 12, a more
forceful, resonating pizzicato is needed for the f marking, whereas
the mp at bar 7 needs a softer, less forceful pizzicato. Dynamics
range from mp to ff, with changes occurring relatively frequently.
Some subtle dynamic changes and crescendos and decrescendos are
present (e.g., mf < f). A finger pattern using high second
finger is required, and the fourth finger is used. The speed of
finger changes is slow, with no fingered string crossings. The
piano part is very sparse and provides erratic support for the
violin. The many rests and entries on weak beats make ensemble
co-ordination challenging.

Pedagogical Value: This piece provides experience in playing
pizzicato. There is the opportunity to improve right and left
hand co-ordination, as well as to work on varying dynamic levels
and crescendos and diminuendos. There is the chance to work on
the fourth finger specifically, and left hand dexterity in general
on the eighth notes. Ensemble co-ordination may be improved through
focus on counting in both the violin and piano parts.

ARCHER, Violet

"A QUIET SONG" from TWELVE MINIATURES FOR VIOLIN
AND PIANO

Instrumentation: Violin, piano

Duration: 50"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: The relaxed nature of the piece is
evident in the larghetto marking at the beginning. Tempo marking
is a quarter = 80, varying slightly at the end due to a poco ritardando
and fermata. The time signature is 4/4. Whole, half, and quarter
notes make up simple rhythmic patterns. The composition is in
an AB form, consisting of an 8-bar A section and an 8-bar B section,
with little use of repetition. The harmony is modal, using the
Dorian scale starting on D. There is no key signature. Step-wise
motion is used in the melody, with some leaps of a perfect fourth
involving one open string.

Technical Challenges: Legato bowing is used, with portato bowing
on slurred, repeated notes. Slurring of quarter and half notes
is common. Bow distribution, speed, and pressure vary in this
piece. Changes in bow distribution and speed occur in bars 10
and 12, where one bow is held over four beats, and in bar 13,
where the violin enters on a weak beat. The bow pressure varies
with the dynamics; for example, between bars 9 and 10 less pressure
is needed, but overall, the pressure should be constant in all
parts of the bow for an even tone. The dynamics range from p to
f. There are some moderately subtle and frequent dynamic changes
(e.g., p to mp, f to mf). Crescendos and decrescendos are also
present. A finger pattern using low second finger is required,
and fourth finger is included. String crossings are infrequent,
and to adjacent strings only. The speed of finger changes is slow,
with few fingered string crossings. Co-ordination between left
and right hands presents few challenges due to straight-forward
rhythm and bowing, and a conjunct melody. The accompaniment is
rhythmically straight-forward, keeping a quarter note pulse. The
poco ritardando and fermata in the last bar would be the only
challenge to ensemble co-ordination.

Pedagogical Value: This composition provides opportunities
to work on good bow distribution and to experiment with varying
bow speed and pressure on dynamic changes. Knowledge of and familiarity
with the Dorian scale is stressed, and there is opportunity to
practise tempo changes with the poco ritardando and fermata.

ARCHER, Violet

"SERIOUS MOOD" from TWELVE MINIATURES FOR VIOLIN
AND PIANO

Instrumentation: Violin, piano

Duration: 1'

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This very slow and sustained piece
is marked largo molto with a quarter = 48, in 2/4 metre. There
is a ritardando and fermata at the end. Half, quarter, eighth,
sixteenth, and thirty-second notes are used, with some syncopations
due to the use of ties. A three-phrase form is used. The composition
begins with an eight-bar phrase which is followed by a nine-bar
phrase, and ends with a seven-bar phrase. Harmony is based on
the modal Aeolian scale on A. The only accidental is a B-flat
in the piano part. The melody consists mainly of conjunct motion,
with leaps of a perfect fifth involving an open string. There
is a leap of a tenth between bars 17 and 18 as phrase two ends
and phrase three begins.

Technical Challenges: Bow distribution in this piece is difficult
for the beginner because one bow stroke is often held over several
beats. The speed of the bow is slow on these long notes, and is
faster on the single quarter notes (e.g., bar 13). A wide range
of dynamics from f to pp is used. Dynamics in this piece are important
in creating movement over the tied notes; crescendos and diminuendos
are often indicated on the longer notes. The bowing is very legato,
with slurs over as many as four beats (e.g., bars 2 and 3). Bar
9 starts up-bow, with three beats of preparation time. Easy finger
patterns with high and low second finger are used. In bar 16,
the second finger moves back from C-natural to B-natural on the
A string, and then a low first finger is used to play F-natural
on the E string. This passage places the hand briefly in half
position. The speed of finger changes is fairly slow, with time
to prepare. String crossings are infrequent, and two of the four
crossings involve an open string for preparation time. Three of
the crossings are to adjacent strings, while the crossing between
bars 17 and 18 involves a leap from the E string to the G string.
This occurs at the end of a phrase, however, and a breath mark
indicates time to prepare the bow. Bar 18 begins up-bow, and consequently
good bow control is needed on this leap. This section also presents
difficulties in left and right hand co-ordination because, as
well as the string change, there is a finger change from low first
finger on the E string to fourth finger on the G string. Co-ordination
is not difficult in the remainder of the piece. The piano part
provides support for the violin part and also provides quarter
note movement during the violin rests and tied notes. Ties, entries
on weak beats, and long pauses in the piano part complicate ensemble
co-ordination.

Pedagogical Value: Rhythmic precision and careful counting
are necessary in the dotted rhythms. This piece is an excellent
study in bow control. The long slurs give the student opportunities
to work on saving the bow, sustaining the sound in all parts of
the bow, and controlling changes of bow speed and pressure as
rhythmic patterns and dynamics change. There are also opportunities
to work on left and right hand co-ordination, and on ensemble.

ARCHER, Violet

"SUNNY SKIES" from TWELVE MINIATURES FOR VIOLIN AND
PIANO

Instrumentation: Violin, piano

Duration: 40"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This is a rhythmically interesting
piece which uses a variety of durations and patterns. Note values
range from eighth notes to whole notes, and rhythmic patterns
include dotted rhythms, syncopated rhythms in bars 5, 8, and 11,
and straight eighth and quarter notes on the beat. Time signature
is 4/4 with a quarter = 132. The piece is marked Allegretto, and
the tempo is unchanging. The piece is in ABA' form. Section A
is nine bars long. Section B is seven bars. Section A' is six
bars long. The melody contains both conjunct and disjunct movement,
with prominent leaps of a fourth and a fifth, sometimes involving
an open string. The piece centres on A, with A pentatonic and
A+ scales both being used. The piano part is based on the interval
of a fourth, used in solid and broken chords. Prominent use is
also made of major seconds in the piano part.

Technical Challenges: Several different styles of bowing are
used, including detached and slurred bowing, staccato and legato
bowing. In the second last bar, there is a mark indicating added
emphasis on the A. The dynamics (mf and f) are marked infrequently.
Bars 13, 14, and 15 are challenging dynamically due to the very
short decrescendos in these bars. More bow pressure is needed
on louder dynamics. Bow distribution changes frequently. The bowing
pattern is not constant. Slurs and detache bowings are placed
seemingly at random. A finger pattern using high second finger
is used, with a moderate speed of finger changes. Most of the
string changes are unfingered. String crossings involve adjacent
strings and are relatively frequent. The fingered string crossings
and varying articulation and bow distribution make co-ordination
between the left and right hands moderately difficult (e.g., bar
12 has changing articulation and fingers, combined with a string
crossing). A combination of on- and off-beat chords is used in
the piano part. From bars 1 to 3, chords are on the off-beat.
The right hand, from the third bar onwards, is rhythmically on
the beat, while the left hand maintains the off-beat. This continuous
off-beat accompaniment makes ensemble co-ordination more difficult.
Counting and a steady tempo are necessary.

Pedagogical Value: This piece is useful for developing bow
control. There is a great deal of variety in bow distribution.
The different rhythmic durations, combined with slurs, ties, and
detached bowing, require the use of different parts of the bow.
Various types of bowing are used. There is opportunity to practise
a limited dynamic range, and to refine the various dynamic levels.
There is also a chance to practise several very short decrescendos
(bars 13-15), as well as a more gradual decrescendo in the last
bar. There is an opportunity for the student to improve his or
her rhythmic sense and counting abilities through the changing
rhythmic patterns.

ARCHER, Violet

"WALTZING" from TWELVE MINIATURES FOR VIOLIN AND
PIANO

Instrumentation: Violin, piano

Duration: 1'5"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: In a typical 3/4 waltz time, "Waltzing"
has a lilting, light-hearted feeling to it. Marked Allegretto
with a quarter = 138, this piece uses quarter, half, and dotted
half notes. Tempo is steady throughout, and rhythmic patterns
are relatively constant. The violin begins after a 4-bar piano
introduction. There is no key signature and no obvious tonal centre.
Various accidentals occur in the violin and the piano parts. The
frequently changing accidentals, in the violin part especially,
suggest polytonality. The melody moves by step and small leaps
(thirds, fourth, fifths, and sixths).

Technical Challenges: Finger patterns change frequently, with
alterations affecting each finger at some point during the piece.
Each new finger pattern usually lasts for several bars, giving
the student time to adjust to it. Chromatic alteration involving
the slide of a finger up a semitone is present in bars 25 and
26, and in bar 33. Bow distribution is relatively constant, usually
with three beats per bow. The most obvious changes of distribution
are on the long tied notes (bars 34-6 and 46-51). The style is
legato, with many smooth slurs. Bars 41 and 42 have stress marks
over the Ef in each bar. A slight vibrato is desirable here to
warm up the tone. There are frequent string crossings to adjacent
strings. The speed of finger changes is moderate, with quite a
few fingered string crossings. Co-ordination between left and
right hands is not difficult because the bowing changes infrequently.
There may be slight co-ordination difficulty with some of the
string crossings combined with finger changes (e.g., bars 8 to
9). The piano accompaniment provides support in a typical waltz
accompaniment consisting mainly of quarter notes. The rests in
the piano part at bars 31 and 37-40 might complicate ensemble
co-ordination, but the moderate tempo and straight-forward accompaniment
make co-ordination relatively easy.

Pedagogical Value: The chromatic alterations and changes in
finger patterns can help to develop left hand finger dexterity.
Relatively subtle dynamic changes can be practised using varying
bow speeds and pressures. This is a useful study in bow distribution
and in smooth bow changes. It is also valuable for aural development.

ARCHER, Violet

"WITH DETERMINATION" from TWELVE MINIATURES FOR VIOLIN
AND PIANO

Instrumentation: Violin, piano

Duration: 1'

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: "With Determination" is
a solemn piece marked andante moderato, with a quarter = 96 in
4/4 metre. The tempo is unchanging, with the exception of the
fermata at the end. The rhythmic patterns are simple, featuring
mainly quarter and half notes, with a few eighth notes, one dotted
half note, and one whole note. Modal scales provide the harmonic
basis. There is no key signature, and no accidentals are used.
The melody is a mixture of conjunct and disjunct movement, with
two leaps of a perfect fifth involving one open string. 2-note
chords involving at least one open string are featured in bars
14 to 20 and bars 22 to 24.

Technical Challenges: On the 2-note chords, good bow control
is important for an even sound. Bar 17 is especially difficult
because the bow must cross from the D and A strings to the A and
E strings, and then back again. This string crossing requires
bow control and good co-ordination between left and right hands.
Generally, the chord preceding a string crossing is played on
two open strings. A heavy bow arm is needed to produce a strong
sound at a f dynamic level. The chord in the last bar is the most
difficult because it is marked ff and is accented. Proper bow
speed and pressure are needed here, and also on the accented notes
in bar 22. The style is generally legato, with a mixture of slurred
and detache bow strokes. Portato bowing is found in bars 7, 13,
and 20 on quarter and eighth notes. The dynamic markings of mf
at the beginning to ff at the end, with some short crescendos
and diminuendos, dictate the need for slight alterations in bow
pressure and speed. A finger pattern with low second finger is
used throughout, with the speed of finger changes being slow.
There is plenty of time to prepare finger changes, and there is
a mixture of fingered and unfingered string crossings. Most of
the piece is played on the D and A strings, with the G and E strings
being used occasionally. There are a moderate number of string
crossings, to adjacent strings only. Co-ordination between left
and right hands is more difficult in instances such as bar 17,
or between bars 18 and 19, when a string crossing is combined
with 2-note chords and a change of fingers. The piano part is
written entirely in octaves and moves rhythmically in quarter,
half, dotted half, and whole notes, with a steady pulse throughout.
Ties in the piano and violin parts make careful counting and sensitive
ensemble playing necessary. Generally, rhythmic movement alternates
between the piano and violin parts. When the violin has quarter
notes, the piano part has a tied note (e.g., bar 10) and vice
versa.

Pedagogical Value: This piece presents opportunities to develop
bow control as dynamics, articulation, and bow speed change. The
2-note chords are challenging for bow control, and also for co-ordination
between left and right hands.

COULTHARD, Jean

"The Climb Up Mount Royal" from A LA JEUNESSE, Book
2

Instrumentation: Violin, piano

Duration: 45"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: Coulthard suggests that when playing
this descriptive piece, the student should "try to have the
feeling of footsteps slowly climbing up and up." It is marked
"moderately--a walking pace," with a metre of :. Eighth,
quarter, dotted quarter, and half notes are used, with quarter
and half rests also. There is a tie from bar 10 to bar 11, and
there are accents on the half notes in the last three bars as
the climber reaches the top of Mount Royal. A ritardando is marked
at bar 10, with an a tempo in the following bar, and there is
a fermata on the last note. The rhythmic patterns are simple and
repetitive.

Form is ABA'. Section A consists of a 2-bar piano introduction
and a 4-bar phrase for violin and piano. Section B consists of
a 4-bar phrase, followed by a 2-bar piano interlude in bars 11
and 12. Section A' begins in bar 13 with the melody originally
found in bars 3 and 4. The original 4-bar phrase is extended here
to 5 bars. The piece is interesting harmonically. It is in F#-,
with a modulation to C#-, a B+ chord at the end of the second
phrase (bar 10), and a final mixolydian mode cadence as an F#+
chord concludes the piece. The melody ascends in scale-like motion
much of the time, with occasional leaps of a fourth, fifth, and
sixth. The style is very legato. The on-going eighth note motion
in the piano part suggests footsteps.

Technical Challenges: First position is used throughout, with
a simple finger pattern using high second finger. The speed of
finger changes is moderate. There are a moderate number of string
crossings, all involving adjacent strings since the piece uses
only the A and E strings. Bar 7 involves a string crossing to
the A string for an eighth note. Between bars 7 and 8 there is
a fingered crossing from the E string to the A string, using first
finger on both strings. The bowing in this piece is legato, with
frequent slurs over the duration of two and sometimes four eighth
notes. A slow bow speed is needed in the bars where one bow is
held over the duration of four eighth notes (e.g., bars 5, 8,
9, and 15 to 17) and where one bow is held for the duration of
six eighth notes (bars 10-11). More bow pressure is needed in
the last four bars due to the accents and the louder dynamic level.
The dynamic range is p to f, with time to prepare for dynamic
changes. Crescendos and decrescendos are marked as well. Bars
9 and 10 are challenging dynamically because the crescendo and
diminuendo are quite short. Careful counting is needed in the
violin part on the rests and dotted rhythms. The violinist should
listen to the piano which maintains an eighth note pulse until
the last three bars, where there are half notes. Sensitive ensemble
playing is needed on these final three bars due to identical rhythms
in both parts. Ensemble co-ordination is challenging in bars 10
and 11, where tempo changes occur.

Pedagogical Value: This piece provides opportunities to work
on tone production and smooth bow changes. It is also useful in
developing rhythmic, ensemble, and aural skills.

COULTHARD, Jean

"Grandfather Tells a Witch Story" from A LA JEUNESSE,

Book 1

Instrumentation: Violin, piano

Duration: 41"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This piece is to be played "mysteriously."
Coulthard uses sharp accents and sudden sforzandos, and chromaticism
in the piano part to suggest elements of mystery. During the one-bar
piano introduction, the words "Once upon a time" can
be spoken in rhythm. This piece uses much repetition. Bars 3,
11, and 12 are the same as bar 2 for the violinist. The four bars
are almost identical in the piano part. Bar 5 is the same as bar
4. Bar 7 is the same as bar 6 except for the dynamic level. After
the one-bar piano introduction there is an eight-bar phrase, followed
by a bar of piano interlude, and then a four-bar phrase to end.
The time signature is 4/4. The piano introduction is to be played
"slowly," and the remainder of the piece is played at
a quicker tempo but "not too fast." The rhythm is straight-forward,
with eighth notes and rests and some whole notes, half notes,
and quarter rests. There is a ritenuto and fermata at the end
of the first phrase, but this affects the piano accompaniment
more than the violin part, which has a long held note and rests.
The tonal centre is F#-. There is considerable chromaticism. The
melody features a good deal of conjunct movement. Leaps are generally
preceded by an eighth note rest, providing time to prepare. Eighth
notes in the accompaniment help to maintain a steady pulse and
tempo.

Technical Challenges: Accented eighth notes require good bow
control. The dynamic changes are obvious and infrequent. The dynamics
for the violin consist of f and p, with a sforzando at the end
of each phrase, and a gradual diminuendo to p. Bow distribution,
speed, and sounding point are constant during the eighth note
passages which require clean articulation. Tremolo sul ponticello
is optional on the tied notes in the final two bars. A well-controlled
tremolo requires relaxed right wrist movement. The finger pattern
uses high second finger. There are no finger pattern changes,
and the piece remains in first position, using only the A and
E strings. The speed of finger changes is moderate, with some
use of fingered string crossings. The last note involves a leap
of a major sixth from open A to F#, but the open A string gives
time to prepare the finger for the F#. There are minimal co-ordination
problems between the left and right hands. The piece is composed
mainly of step-wise eighth notes, with a single bow stroke for
each note.

Pedagogical Value: This piece provides opportunities to develop
bow control and tone production. The piece also presents rhythmic,
ensemble, and aural challenges. For example, the eighth notes
must be played in proper tempo and must be co-ordinated with the
piano part; tempo changes must be well controlled; dissonances
must be carefully tuned.

COULTHARD, Jean

"The Great Elephant" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 25"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: An accompanying paragraph below the
composition in the student book gives clues to the nature of this
piece. Suggestions such as playing f, with a strong tone, and
not too quickly, aid in creating the idea of an elephant walking
along. A marking of "March time, rather heavy" reinforces
this idea. Time signature is 2/4, and tempo is constant throughout.
Eighth and quarter notes are mainly used, with occasional half
notes, in simple rhythmic patterns. Form is very straight-forward.
A 2-bar piano introduction is followed by a 4-bar "question"
played by violin and piano. Following an identical 2-bar piano
interlude, violin and piano play a 5-bar answering phrase. Although
there is no key signature, a C# accidental throughout suggests
A+. The piano accompaniment features dissonant intervals (seconds
and sevenths). The melody moves mainly by step.

Technical Challenges: The consistency of the technical aspects
make this a very good piece for a beginner. A single finger pattern
with high second finger is used throughout. Smooth detache bowing
is required. A moderate bow speed and firm pressure are needed
for a strong tone. The dynamic level is marked f throughout, with
a crescendo at the end. Co-ordination between hands is not difficult
due to the straight-forward bowing and moderate speed of finger
changes. The only string crossing involves an open E string, with
two bars of rest to prepare for a return to the A string. A steady,
moderate tempo makes ensemble co-ordination simple. The piano
part consists of eighth and quarter notes, and acts as basic support
under the violin part. The violinist must count carefully during
the piano introduction and interlude.

Pedagogical Value: The title and short paragraph might very
well catch the interest and imagination of young students. This
piece provides opportunities to develop firm tone and careful
bow distribution. The dissonant intervals in the piano part can
aid the student's aural development, and the piece can also help
to develop basic rhythmic and ensemble skills.

COULTHARD, Jean

"Let's Play" from A LA JEUNESSE, Book 2

Instrumentation: Violin, piano

Duration: 25"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: "Let's Play" is a bright,
quick composition which is marked "Allegro (Jolly)."
Metre is 2/4. Tempo is steady throughout this short piece. Rhythms
are simple, using eighth, quarter and half notes, and eighth and
quarter rests. The violin part requires careful counting in bars
13, 14, 17, 18 and 19. The piece is in rounded binary form. A
two-bar piano introduction leads to the eight-bar A section. Section
B begins with a four-bar phrase. The final phrase is five bars
long and includes material from section A. The key of A+ is used
throughout. The use of seconds and ninths in the piano chords
should be noted. The melody moves by step or small skips. There
are perfect fourth leaps in the violin part in bars 11 and 12.
Pizzicato notes in bars 13-14 and 18-19 add timbral variety. The
piano part reinforces the rhythmic pulse with an alternating eighth-note,
eighth-rest figure. The piano has some melodic interest as it
imitates the violin's ascending and descending eighth note melodic
figures (bars 9-10, 13-14, and 17-18).

Technical Challenges: A moderate amount of finger dexterity
is needed in this piece. Some of the string crossings are fingered.
Detache and short martele bowing styles are used. In bars 13 and
14, left hand pizzicato is required, with one beat rest to provide
time to change from arco to pizzicato, and one-and-a-half beats
to change back to arco. The final two bars consist of octave chords
(open A to 3rd finger A on the E string), played using right hand
pizzicato. Rests provide time to change from arco to pizzicato.
Most of the piece is played in the middle of the bow. At the end
of the three-beat tied note, a rest provides time to place the
bow in the middle again. The accented notes need added bow pressure.
First position is used with a single finger pattern which requires
high second finger. The piece uses only the A and E strings, and
therefore all string crossings are to adjacent strings. The co-ordination
between left and right hands is moderately easy. Generally, there
is an open string note when there is a string change for easier
co-ordination. Usually any change in bowing or rhythm involves
an open string (e.g., in bars 9 and 10, and bars 13 and 14). The
dynamics are p and f, with a diminuendo on the long, tied note
in bars 9-10. Almost every bar begins with an accented eighth
note. This helps to maintain a steady, even tempo.

Pedagogical Value: This piece is useful in developing ensemble
skills, especially when the melodic material passes from violin
to piano, and in developing rhythmic skills. This piece also provides
opportunities to work on bow control and on the co-ordination
between left and right hands on the eighth notes. It is also useful
for developing control of left and right hand pizzicato.

COULTHARD, Jean

"A QUIET MOMENT" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 45"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This composition should be played
smoothly and expressively, with special attention to the dynamics.
It is marked "Quite slowly and peacefully." Metre is
3/4. The rhythms are simple and repetitive, with varying combinations
of eighth, quarter, half, and dotted half notes being used, along
with quarter rests. There is a tie over six beats in the last
two bars. A form of ABA' is used. Following a one-bar piano introduction,
there are two two-bar phrases for violin and piano. Section B
begins in bar 6, and is seven bars long. The melody is in the
piano part in bars 10-12 while the violin plays an accompaniment
on the open A string. There is a rit. marked in bar 11 and a fermata
in bar 12, and then, following a slight pause, section A' begins
a tempo. It is seven bars in length, fading away and slowing down
in the final three bars, with a fermata in the last bar. The piece
is in f#-, moving to A+ at the end of section B and ending on
an F#+ chord in bars 18-19. There is considerable chromatic movement
in the piano part. In bar 17, the cross relation between C# (in
the violin and in the piano right hand) against C-natural (in
the piano left hand) should be noted. The melody moves mainly
by step and by perfect fourth or fifth leaps.

Technical Challenges: This piece uses a simple finger pattern
with high second finger, and is played throughout in first position.
The speed of finger changes is slow, with ample preparation time.
String crossings from the A string to the E string in bars 4,
6, 8, and 15 are fingered. They move from a B or C# on the A string
to F# on the E string. However, string crossings from the E string
to the A string are unfingered, utilizing the open E string. A
legato bow stroke is used to produce a peaceful, soothing melodic
line. Slurred and detache bowings are used, with slurs over no
more than a bar. Long bow strokes using the entire bow are required,
with a fairly slow bow speed. Crescendos and decrescendos are
important for providing movement on the longer note durations.
The dynamics range from pp to mf, with changes occurring frequently.
Some dynamic changes are subtle (e.g., bars 2-5, mp < >).
The bow pressure varies according to the dynamics, but it is generally
fairly light, with more pressure in bar 11 where it is marked
mf. Stress markings on notes in bars 10, 11, 12, 16, and 17 require
more bow pressure for extra emphasis. Since the composition involves
only the A and E strings, the string crossings are not difficult.
Co-ordination between left and right hands is straight-forward.
The piano part consists of eighth, quarter, and half notes, and
provides a basic accompaniment for the violin. Sensitive ensemble
playing is required where there are alterations to tempo in bars
11, 12, 17, 18, and 19.

Pedagogical Value: This piece provides opportunities to work
on bow control and distribution, and to develop a smooth, expressive
tone. It is also valuable for developing control of dynamic changes.

COULTHARD, Jean

"THE SAILBOAT ON THE LAKE" from A LA JEUNESSE, Book
2

Instrumentation: Violin, piano

Duration: 50"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: Coulthard indicates that this piece
suggests a small sailboat gliding gently on the water. It is marked
"Floating gently," with a metre of 3/4. Quarter, half,
and dotted half notes are used, with quarter rests. There are
several tempo changes. Fermatas are marked in bars 14, 18, and
22. Bars 6, 10, and 14 are marked poco rit., with an a tempo in
the following bar each time. The final four bars are to be played
"gradually slower to the end." The predominant rhythmic
pattern is a half-note followed by a quarter-note. Form is AB.
Section A begins with a 2-bar piano introduction, followed by
two 4-bar phrases for violin and piano. Section B consists of
two 4-bar phrases and a 4-bar coda. The composition centres on
f#-, and features interesting harmonic movement. Phrase two ends
on an E+ chord (bar 10), phrase four ends on a dominant seventh
chord in f#-, and the piece ends on an F#+ chord. The chromatic
alterations and the use of minor sevenths in the piano part should
be noted. The melody often moves in fourths, with some step-wise
motion as well.

Technical Challenges: A beautiful, cantabile tone is needed
in this piece, and therefore smooth legato bowing is required.
Bars 11 and 13 require portato bowing. The bow distribution is
relatively consistent, with an entire bow over one bar. The half
note require 2/3 of the bow, and the remaining 1/3 of the bow
is required for the quarter note. Overall, a relatively slow bow
speed is needed. The bow pressure is quite light throughout due
to the generally soft dynamic level. The last four bars require
a slower bow speed and less pressure, with long, smooth bow strokes.
Dynamics range from p to mf, with occasional crescendos and diminuendos.
The dynamics change infrequently and gradually. String crossings
are relatively frequent, involving adjacent strings. Only the
A and E strings are used. The optional use of fourth finger alters
the placement of string crossings. The entire composition is played
in first position, with a slow speed of finger changes. Fingered
string crossings are optional, depending on whether or not the
fourth finger is used. A simple finger pattern with high second
finger is used. Co-ordination of left and right hands is straight-forward
due to the consistent bowing, the slow speed of finger changes,
and the unchanging finger pattern. Frequent tempo changes are
tricky, and sensitive ensemble playing is needed where the tempo
changes and when pauses occur. Quarter note movement in the piano
part aids ensemble co-ordination.

Pedagogical Value: This piece provides opportunities to improve
bow distribution and to develop tone production and bow control.
It can be used to develop left hand fourth finger action. It is
also useful for ensemble training because of the tempo changes.

COULTHARD, Jean

"A SONG FOR BEDTIME" from A LA JEUNESSE, Book 2

Instrumentation: Violin, piano

Duration: 45"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: A slow, relaxed tempo, and an easing
up at the end of each phrase are essential in "A Song for
Bedtime," which is marked, "play slowly and dreamily."
The rhythm consists of simple eighth, quarter, and half notes,
and the metre is 2/4 throughout. The rhythmic pattern changes
infrequently. Fermatas end phrases one, two, and four, and phrases
three and four end with ritardandos. The form is rounded binary.
There is a two-bar piano introduction followed by a four-bar "question"
and a corresponding four-bar "answer." Section B begins
with a four-bar phrase which is answered by a four-bar phrase
featuring material from section A. This piece is harmonically
interesting. It begins in f#-, moves to A+, then to C#+, then
back to f#-, ending on an F#+ chord. The use of minor sevenths
and modal effects in the piano part should be noted. The melody
is made up of mainly disjunct movement, with some stepwise motion.

Technical Challenges: The dynamic changes are relatively subtle,
ranging from pp to mp. Dynamics change fairly infrequently. There
are some short crescendos and decrescendos. Bowing is very smooth
and legato. There are legato and portato 2-note slurs on the eighth
notes. The bow distribution and speed are generally constant,
except in the case of half notes and ritardandos, where slower
bow speed is needed. Starting down-bow every four bars requires
retaking of the bow after the first and second fermata. In the
left hand, high second finger is used throughout, with optional
fourth finger. The speed of finger changes is relatively slow,
with some fingered string crossings. Only the A and E strings
are used in this piece. There are some string changes with no
preparation time. There are few co-ordination problems between
hands, except for fingered string crossings. The eighth notes
in the piano accompaniment help provide a steady pulse, but ritardandos
and fermatas make ensemble co-ordination between violin and piano
challenging.

Pedagogical Value: This piece provides opportunities to work
on tempo changes. It is useful for developing ensemble skills
and control of intonation and tone production.

DUKE, David

"ALL ALONE" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 45"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: "All Alone" is a short,
sad piece which is very legato in style. It is marked "gently,"
in 4/4. It is in double binary form (AA'BB'). Each section consists
of a single four-bar phrase. Each phrase has the same straight-forward
rhythm, using quarter, half, and dotted half notes, and a quarter
rest. The simple, folk-like melody uses conjunct and disjunct
motion within a narrow range (open A to open E). The tonal centre
is A, with dissonant and modal harmonies in the piano part. Tempo
is moderate throughout, with a ritardando at the end.

Technical Challenges: A relaxed, steady bow arm is needed to
produce a gentle and legato sound. Bow distribution must be carefully
controlled. Bow speed must be slower on the half and dotted half
notes, and the pressure as well as the bow speed must vary according
to the dynamics. There is a retake of the bow at the beginning
of each four-bar phrase. The quarter rest at the end of the preceding
phrase provides time for the retake. Bowing is detache, with no
slurs or ties. The dynamics range from p to mf, with two crescendos,
and a diminuendo at the end of each phrase. The dynamics are moderately
subtle for a beginner (e.g., bars 5 to 8 are marked p >). A
single finger pattern with high second finger is used, and the
speed of finger changes is slow, leaving time to prepare finger
changes. There are no fingered string crossings. All fingered
notes are on the A string. The only string crossings are to the
open E string. Co-ordination between left and right hands is straight-forward.

Pedagogical Value: This piece provides opportunities to shape
a simple melodic line expressively. It is a useful study in legato
bowing and in dynamics. The dissonant and modal harmonies help
expand the student's aural awareness.

DUKE, David

"THE ALLIGATOR" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 30"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: A short poem describing an alligator
accompanies this composition, and may be read aloud before a performance.
The piece is marked "Ferociously." Metre is 4/4. Rhythmic
durations range from eighth to half notes, with quarter rests.
The rhythmic patterns are fairly simple and repetitive. The piano
maintains a quarter note pulse. The form is AA'. A 2-bar piano
introduction begins section A, and is followed by a 4-bar phrase
for violin and piano. Section A' begins with a 2-bar piano interlude
which is followed by a 4-bar phrase in which the violin plays
pizzicato. The violin melody moves by step and small leaps. There
are two augmented fourth leaps (bars 3 and 4), and one leap of
an octave (bar 12). The tonal centre of the piece is G. The violin
melody is in the Lydian mode. The piano accompaniment features
dissonant chords and frequent cross relations. B-flat and B-natural
are juxtaposed in the piano part and also occur between the violin
and piano. For example, in bars 3, 4, 9, and 10, the violin plays
B-natural against the piano's B-flat. The piece begins p, moving
through a molto crescendo in bars 1 and 2. The violin enters ff
in bar 3, and the piano interlude (bars 7 and 8) is also ff. The
dynamic level in bar 9 is f, with a crescendo in bars 11 and 12,
leading to a ff conclusion.

Technical Challenges: This piece is played entirely in first
position, and has a simple, unchanging finger pattern using high
second finger. Heavy bow pressure and quick bow speed are needed
to express the ferocious nature of the melody at the required
f and ff dynamic levels. The bowing is mainly detache, with slurs
in bars 4, 5, 6, and 11, and slurred staccato in bars 2 and 11.
A line indicating extra emphasis is marked on the first beat in
bars 3 and 4. There are a moderate number of string crossings,
involving adjacent strings. The crossings must be well controlled.
Special care is needed in bar 5 where there is a slurred crossing
to the E string for one eighth note only. The speed of finger
changes is moderate. There are two full bars to prepare for the
pizzicato at bar 9. The pizzicato is marked "ad lib."
There is an optional 2-note pizzicato octave chord in the last
bar involving the third finger on the D string, and the open G
string. Co-ordination between hands is straight-forward during
section A, because the speed of bow and finger changes is moderate.
During the pizzicato section, timing between hands must be precise.
Counting is important in the violin part, due to the rests which
occur in bars 1, 2, 7, 8, 9 and 10. Because the piano part provides
a steady quarter-note pulse throughout, ensemble co-ordination
is straight-forward. Intonation requires careful attention, especially
where there are dissonances between the violin and piano.

Pedagogical Value: This piece provides opportunities for strong,
bold playing, using heavy bow pressure and a quick bow speed.
It is useful for developing confident pizzicato playing, and for
developing rhythmic and aural skills.

DUKE, David

"PIBROCH: IN FOLKSONG STYLE" from A LA JEUNESSE,
Book 1

Instrumentation: Violin, piano

Duration: 1'

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This composition is written in the
style of a folk melody from the British Isles. It is marked "slow,"
with a metre of 4/4. The rhythmic durations include eighth, quarter,
dotted quarter, half, and dotted half notes. Rhythmic patterns
are basic. A poco rit. leads into the final two bars, and there
is a fermata on the last note. The piece consists of two 4-bar
phrases played by unaccompanied violin, and then repeated with
harp-like piano accompaniment. Harmonically, the piece is in the
Mixolydian mode. The melody contains frequent leaps of a third
and a fourth, as well as step-wise motion.

Technical Challenges: First position is used throughout. The
speed of finger changes is slow, with ample time to prepare. Simple
finger patterns are used, with high second finger on the D string
and low second finger on the A string. Fourth finger is used frequently.
Bowing is legato throughout. There are occasional slurs over the
duration of two beats at the most, and the rest of the bowing
is detache. The style must be cantabile. In general, a fairly
slow bow speed is needed, although a faster bow speed and more
pressure are needed during the louder sections, such as the last
three bars of the piece. The dynamics range from mp to ff, with
several crescendos and decrescendos marked. There is time to prepare
for the dynamic changes, which are fairly obvious. Good bow distribution
and control are needed on the last two beats of bars 2, 7, and
10, where there are two up-bows in a row. String crossings are
frequent and sometimes rapid, changing after one beat or a half
beat (e.g., bars 1, 6, and 7). Good bow control is needed on these
crossings and the changing bow patterns. The violinist must play
with confidence when unaccompanied (bars 1-7). Ensemble sensitivity
is needed when the piano accompaniment is added (beginning in
bar 8).

Pedagogical Value: This piece is valuable in developing ensemble
sensitivity. It provides a good introduction to the Mixolydian
mode, and provides opportunities to work on a variety of slurred
and detache bowings, and to develop bow control on the string
crossings and dynamic changes.

DUKE, David

"THE SAD TEDDY BEAR" from A LA JEUNESSE, Book 2

Instrumentation: Violin, piano

Duration: 30"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: "The Sad Teddy Bear" is
waltz-like and expressive in nature. It is marked "very slowly."
Metre is 3/4. Rhythmic patterns are simple, consisting of quarter,
half, and dotted half notes, with a quarter rest at the end of
each of the first three phrases. Form is symmetrical, consisting
of four phrases, each four bars in length. Harmonically, it is
tonal, but with chromatic alterations in violin and piano parts.
The piano accompaniment features frequent use of seventh and ninth
chords. The melody contains frequent leaps which provide a chordal
outline, and there is occasional step-wise melodic motion.

Technical Challenges: Smooth, expressive tone is important
in this composition. Bow distribution is quite consistent. On
the recurring linked bowing pattern (half-note followed by a quarter-note),
a whole bow should be used, with 2/3 of the bow on the half note,
and the remaining third of the bow on the quarter note. Each phrase
begins with a down-bow. String crossings are infrequent, and involve
adjacent strings since only the A and E strings are used in this
piece. String crossings often occur during rests. The finger patterns
are simple. Lines 1 and 4 use high second finger, line 2 uses
low second finger, while line 3 uses low first and second fingers.
The piece is played entirely in first position. The speed of finger
changes is slow, with ample time to prepare. The dynamics range
from pp to mf, and change infrequently. There are several crescendos
marked. The dynamics are subtle in bars 13 to 16, consisting of
pp < < mp. Consistent bowing and rhythmic patterns combined
with slow finger changes and simple finger patterns simplify co-ordination
between left and right hands. The piano part generally maintains
a quarter-note pulse, and co-ordination between piano and violin
parts is straight-forward.

Pedagogical Value: This composition provides opportunities
to work on producing smooth, cantabile tone. It is useful in developing
the bow control needed to shape an expressive melodic line. The
chromatic alterations and colourful harmonies are useful in aural
development.

ETHRIDGE, Jean

"HOMAGE TO BARTOK" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 30"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This piece has lively rhythms, and
must be played energetically. It is in 4/4 metre and is marked
"with vitality." There is a poco rit. marked in bar
11, with an a tempo in the following bar. Otherwise, the tempo
is steady. The rhythmic patterns consist of quarter and eighth
notes, and quarter rests. Some basic rhythmic patterns recur throughout
the piece. The piece is composed in 2-bar phrases, of which there
are six altogether. Bars 1 and 2 are repeated almost exactly in
bars 9 and 10 of the violin part. The harmony of the violin part
is A+, but the piano part is somewhat ambivalent, suggesting both
A+ and D+. Added sevenths and ninths create dissonances in the
piano part. The energetic folk-like melody, reminiscent of Bartok,
moves by step and by small leaps, within a limited melodic range.
Melodic fragments are repeated (e.g., bars 3 to 5).

Technical Challenges: This piece is played entirely in first
position, with a single finger pattern using high second finger.
The speed of finger changes is moderately fast, with no fingered
string crossings. Pizzicato is indicated on the last note, which
is a 2-note octave chord involving the open D string and third
finger on the A string. There is one beat of rest to prepare the
change from arco to pizzicato. Quite a bit of force is needed
from the right hand on the chord, as it is marked ff. Since it
is an octave chord, good intonation is important. Bowing in the
composition involves an energetic detache stroke. A moderate bow
speed is needed. Bow pressure increases as the dynamics get louder.
The dynamic range is p to ff. Dynamics change frequently, with
some sudden changes (e.g., bars 6 to 9, mp to f to p). Good co-ordination
between left and right hands is needed. The piano part is a mixture
of eighth, quarter, and half notes. There is some imitation of
the violin part (e.g., bars 3, 4, 7, and 10). The dissonances
and the variety of rhythmic patterns in the piano part make ensemble
co-ordination challenging, and the ritardando and a tempo in the
last bars require ensemble sensitivity.

Pedagogical Value: This piece presents opportunities to work
on tempo changes, sudden dynamic changes, and pizzicato. It is
useful for developing rhythmic and ensemble skills.

ETHRIDGE, Jean

"THE LONELY MERMAID" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 1'

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This short piece has a melancholy
melody which is legato in style. It is marked "Slowly, with
feeling." Metre is 4/4. The rhythmic durations in the violin
part range from eighth notes to half notes, with occasional half,
quarter, and eighth rests. The final note is tied over the bar
line (bars 10-11). The rhythmic patterns are simple, with various
recurring rhythmic motifs. The form is AB. A 5-bar phrase comprises
section A, and section B consists of a two-and-a-half-bar phrase,
followed by a three-and-a-half-bar phrase. There is no key signature,
but F# and C# accidentals are present throughout, suggesting the
Dorian mode starting on B. The melody consists of step-wise motion
on the eighth notes, with leaps of a fourth and fifth occurring
on longer rhythmic durations. The piano part features sustained
chords in which open fifths predominate. The rhythmic motion in
the piano part is slow, with frequent ties over the bar line.

Technical Challenges: This composition is played in first position,
with a simple unchanging finger pattern using high second finger.
Legato bowing is used throughout, with short slurs in bars 4,
5, 7, and 9. Good bow control and distribution are necessary to
produce a smooth, cantabile tone. Long bows are needed on the
quarter and dotted quarter notes, with even bow pressure and a
fairly slow bow speed. Bars 6 to 8 require more bow pressure and
speed to produce a f. The dynamics range from mp to f, with crescendos
and decrescendos helping to shape the expressive melodic line.
Subtle dynamics present a challenge at times (e.g., bar 1, mp
< >, bars 6-8, f >mf). The speed of finger changes is
quite slow. Fingered string crossings are infrequent. All string
crossings involve adjacent strings, since the entire piece is
played on the A and E strings. Co-ordination between left and
right hands is straight-forward. Careful counting is needed on
the dotted quarter notes in bars 1, 3, 5, and 9. Rhythmic precision
is needed in bar 8, where the violin has an off-beat entry. Frequently
occurring ties in the piano part make ensemble co-ordination moderately
challenging.

Pedagogical Value: This piece presents opportunities to produce
a sustained tone and an expressive melodic line. It is also useful
for developing rhythmic skills and ensemble sensitivity.

ETHRIDGE, Jean

"MORRIS DANCE" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 20"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: Marked "With spirit," this
piece is described as "a very colourful dance from Olde England."
The metre is 4/4 and the tempo is steady throughout. Quarter and
half notes are used, as well as quarter, half, and whole rests.
The rhythmic patterns are simple, and recur frequently. An accent
occurs on the first beat of each bar. The dynamic level in the
violin part is f throughout. The piano part has greater dynamic
variety (mf and mp). Form is AB. Section A is four bars long,
and section B begins with a 2-bar interlude in the piano part,
followed by a 4-bar phrase for violin and piano, and a two-bar
extension. The key of A+ is used throughout, with some colourful
dissonances in the piano part. The lively melody involves conjunct
and disjunct motion, with leaps of a third and fourth occurring
frequently. The melodic range is narrow (open A to open E). Repetition
of melodic motifs occurs in the violin part (e.g., bars 1 and
2 are similar to bars 9 and 10).

Technical Challenges: Detache bowing is used throughout. Accents
require extra bow pressure and speed at the beginning of each
bar. Good bow control is necessary on the accents. Bow pressure
elsewhere is fairly constant, with heavy pressure needed for a
boisterous, spirited melody. Bow distribution is fairly consistent,
with half notes requiring a whole bow and quarter notes requiring
less bow. The bow retake in bar 10 must be well controlled. String
crossings are fairly frequent but involve only the A and E strings.
The speed of finger changes is moderate. A single finger pattern
with high second finger is used. The moderate speed of finger
changes and the consistent bowing and finger pattern make co-ordination
between left and right hands straight-forward. Violin rests in
bars 5, 6, and 10 must be carefully counted. The piano accompaniment
provides basic support with half and quarter notes. The piano
part in section A is legato, with frequent ties and slurs, while
in section B there are some staccato quarter notes in addition
to the legato slurred notes. Co-ordination between the violin
and piano is straight-forward.

Pedagogical Value: This piece is useful for rhythmic and aural
development. It provides valuable experience in producing a strong
tone with well controlled accents.

ETHRIDGE, Jean

"THE SUBWAY TRAIN" from A LA JEUNESSE, Book 1

Instrumentation: Violin, piano

Duration: 30"

Publisher: Waterloo Music

Level: Easy

Musical Characteristics: This composition is to be played "With
energy." It is programmatic in nature, featuring a gradual
increase in dynamics from p to f as the train approaches the station.
The repeated sixteenth notes of the violin suggest the train's
motion, while the final half note suggests the train's arrival
in the station. The metre is 2/4 throughout. The piano moves in
non-legato eighth notes with varying patterns of accentuation,
perhaps suggesting the lurching of a crowded train. The piece
is made up of two very similar phrases. The first phrase is eight
bars long, and the second phrase is twelve bars long, with some
repeated material in the additional four bars. This piece is in
A+, with many dissonant intervals (seconds and sevenths) in the
piano part. The violin has many repeated notes, with the pitch
changing only once or twice per bar, on the beat. Where pitches
change, they move by step or by a perfect fifth between the open
A and open E strings.

Technical Challenges: Dynamics must be well controlled as they
change from p to mp to mf, with a crescendo leading to the final
f. The dynamic changes are not too frequent, occurring every four
bars. The speed of finger changes is slow because of the repetition
of pitches, and the finger pattern (using high second finger)
does not vary. The speed of bow changes is quick, and bow distribution
is constant throughout. A short, middle-of-the-bow detache stroke
is needed, with the exception of a long, slow bow on the half
note at the end. Although a short bow stroke is used throughout,
more bow and pressure are needed on the sixteenth notes as the
dynamics increase. Right wrist must remain flexible to avoid tension
on the bow changes. Good bow control is need on the string crossings
between the A and E strings. Co-ordination between left and right
hands is needed where left hand finger changes occur.

Pedagogical Value: This piece is an excellent study in dynamics
and in short detache strokes. It provides opportunities to develop
bow control and to co-ordinate left and right hands. It is also
useful for rhythmic and aural development.

FLEMING, Robert

"SOMETHING FOR MARGARET" from Royal Conservatory
of Music Grades I and II Violin Examinations

Instrumentation: Violin, piano

Duration: 1'20"

Publisher: Frederick Harris

Level: Easy

Musical Characteristics: This piece has a very gentle, rocking
feeling to it, and is to be played "Like a lullaby."
The rhythm is very simple, using half notes, quarter notes, and
some dotted half notes. The metre is 4/4 with a quarter note =
112. There is a ritard in the final two bars. There is some simple
syncopation in the violin part, but the accompaniment keeps a
steady pulse. The piano part gives a rocking effect to the piece.
The melody moves by step and by small leaps, the largest leap
being a perfect fifth, with time to prepare. The tonality is G+
throughout, and the form is a simple ABAB, with a four-bar piano
introduction. The opening A section is an eight-bar phrase. Section
B is a nine-bar phrase. Section A returns as an eight-bar phrase,
and the piece finishes with an eight-bar phrase.

Technical Challenges: Proper distribution of the bow is one
of the main challenges. Several phrases begin with an up-bow pick-up,
requiring good bow control. The slurs and tied notes must also
be well controlled. Cantabile tone and sustained phrases are needed.
The dynamic markings are straight-forward, ranging from p to mf,
with two short <>. There is time to prepare for the dynamic
changes. The piece is written in first position, and uses the
fourth finger of the left hand, with easy fingering patterns using
high second finger on the D string, and low second finger on the
A string. String crossings are infrequent and involve only the
D and A strings. Counting the correct number of bars for rests
presents a challenge in co-ordinating the violin and piano parts.

Pedagogical Value: The emphasis in the piece is on good bow
distribution and control. There is an emphasis on smooth slurs
and bow changes, and on long, smooth phrasing to express the cantabile
style. The piece provides opportunities to practise dotted rhythms
and syncopation, and varying dynamics. Counting and co-ordination
with the accompaniment are stressed as well.

KYMLICKA, Milan

"Dance I" from TWO DANCES FOR VIOLIN AND PIANO

Instrumentation: Violin, piano

Duration: 1'15"

Publisher: Cantus Publishing Co.

Level: Medium easy

Musical Characteristics: This dance is marked Tempo Menuetto
(quarter = 160). The metre is mainly 3/4, but there are occasional
changes to 2/4 for a single bar. A basic quarter note pulse is
maintained throughout. Rhythmic values consist of sixteenth notes
to dotted half notes, and rhythmic patterns are relatively straight-forward.
Accents occur infrequently. The form is ABA. Section A lasts for
24 bars. A double bar line indicates the beginning of section
B, which lasts for 19 bars, with a ritardando marked in the last
bar. Another double bar line and an a tempo marking indicate the
return of section A at bar 44. It is identical to the first occurrence
of section A. Melodically, there is a mixture of conjunct and
disjunct motion. There are occasional octave leaps, with time
to prepare.

Technical Challenges: This dance is playable entirely in first
position. A simple finger pattern with low second finger is used
in section A. Low first finger is used in section B. The bowing
is a mixture of detache and slurred strokes, with slurs extending
over no more than three beats. Several different articulations
are used. The marking of a line and a dot over a note is fairly
common (e.g., bars 3 and 8). These notes are played on the string,
with a fairly heavy bow pressure. Bars 37 and 38 have portato
markings over the notes; they are to be played slightly separated.
Ties complicate bowing and counting (e.g., bars 31 and 32, bar
43), and contribute to a syncopated feeling. The speed of finger
changes is fairly quick, with little time to prepare, especially
on the eighth and sixteenth notes. There is variety in bow distribution.
In the first two bars, lots of bow is needed for a legato sound
at a mf dynamic level. On the detached notes, less bow is needed.
Bars 37 and 38, where there are p 2-note chords, also require
less bow and pressure. The chords involve one open string and
one fingered note. Time is given to prepare the chords, and good
bow control is needed to attain the p dynamic level. Dynamics
in this composition are marked relatively infrequently, and range
from p to f. There are some subtle changes (e.g., bars 39 to 44,
mf < f). Crescendos are marked occasionally. String crossings
are fairly frequent, and require good bow control due to the quick
tempo. The string crossings involve adjacent strings, with the
exception of bars 19 and 20, where there is a leap from the D
to the E string; time is available to prepare. The quick bow crossings
and finger changes are challenging to co-ordinate. Bars 16 and
17 are tricky because there are several fingered string crossings;
bow control is also challenging here. The piano part aids in maintaining
a quarter note pulse on the metre changes. There is occasional
sixteenth note movement in the piano part. Ensemble co-ordination
is ore difficult during the sixteenth note passages, and also
at bar 18, where an eighth note passage occurs in both parts.

Pedagogical Value: There are opportunities to improve finger
dexterity, bow articulation, and tone control. Changing metre
within the piece requires careful counting, as do the tricky rhythms,
and syncopations due to ties. The piece also provides an opportunity
to work on 2-note chords. This dance is also valuable for developing
co-ordination between left and right hands.